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[Brown did an enormous amount of writing on the London stage. He sees Cinderella and Cupid fixes an arrow in his heart. Pedro brings the pumpkin, mice, and lizards that become the transport and entourage to the ball. Ida, where Venus, Cupid, and the Nymph sing of their triumph. Hunters with a large buck slung on their shoulders, Prince Felix, and his tutor Bigwiggo enter, unpack their hamper and have a picnic. As he approaches Cinderella and looks under her hood he starts back in astonishment.

Pantomime works frequently cite his scholarly interest in the genre, but I have not yet been able to identify specific works by Brown devoted to the subject.] [The first mention of Cinderella occurs in Chapter VI, which focuses on Joseph Grimaldi. A grand dress descends from the clouds and fixes on Pedro. The Palace Ballroom, with splendid banquet and music. As they do so the Prince comes with the slipper, various candidates try it on, for ludicrous effect. The Prince looks into her face lovingly and the slipper fits. The Nymph enters, Hymen attends with his torch, and the Prince and Cinderella kneel at the altar and are made happy. The application for permission to perform is registered with the Lord Chamberlain by John Fawcett 20 March 1820, with performance at the Theatre Royal, Covent Garden, beginning 22 March 1820. Finetta the godmother appears, and tells "Moth and gaudy Fly" to fetch the pumpkin, trap with dappled mice, the sleek , fat, "old grey whisker'd Rat" in the barn, "six dainty Lizards green," and changes Cinderella's dress for the ball, with glass slippers to crown all. Finetta warns Cinderella about the midnight deadline when she must "be at home." Sc. The Prince prefers bumpers of wine to logarithms and double equations. Fairy Serena appears instantly, and with three wand waves transforms Cinderella's garb.

A previous acquaintance with the subject is needful for the thorough enjoyment of pantomimic action, though the rule has not always been acted upon either in ancient or modern times, and in some instances been mistaken altogether. The sisters taunt her, but Cinderella can scarcely conceal her joy. The script is available on Readex Fiche, without musical score.]Cinderella: A Pantomime: An accurate description of the grand allegorical pantomimic spectacle of Cinderella, as performed at the Theatre Royal, Drury Lane; to which is added, A critique on the performance and performers by a lover of the drama, together with the story of Cinderella.

Serious pantomimes were once as frequent as comic; and it is recorded that they were occasionally found so pathetic that both actors and audiences were equally affected. She produces the other slipper, hugs it, and sings an "Air." Sc. The Prince anxiously awaits in hope that the right woman will appear.

The same principle was extended in the middle ages, and is still in Italy and Spain to the Mysteries and Moralities, and the dramas that are statedly acted in Catholic churches. An air welcomes Venus and the chorus sings "for ever and for ever" as a dance concludes the play. The pantomime was originally produced at Drury Lane, January, 1804. 640).] [Excellent introductory essay and listing of forty-one pantomime/stage productions of Cinderella in England and the United States, with casts, production information, musical numbers, opening dates, theater, and number of performances; and ninety-six productions between 19, with the same kinds of information. I am greatly endebted to this source, for information regarding 19th-century American pantomime productions and also musicals in the early 20th-century.] [Besides entries A-Z on all matters pertaining to pantomime, from actors, authors, theatres, and staging matters to roles and types, the encyclopedia includes essays by John Morley on "How to Write a Pantomime," "Pantomime Today," and (with Roy Hudd and Jack Tripp) "The Pantomime Performer." Also includes a chronology, bibliography, and an amusing collection of "Quotations about Pantomime" such as G. Shaw's "A child who has never seen a pantomime, or an adult who has never seen a play, is a public danger."] [Provides a psychoanalytical reading of a typical pantomime Cinderella plot. "In former days she was immense of bosom and magnificent of thigh which she slapped like a thunder-clap before singing a popular song in a powerful contralto voice. John Rich, inventor of the Harlequinade, was the first to describe a play as a pantomime. With a wave of the wand Cinderella is transformed too, and then Pedro as well. Cinderella appears, accompanied by Pedro and the page. The clock strikes twelve and Cinderella flees, losing one of the glass slippers.

He was a performer and founder of Covent Garden Theatre. The little page fondles Cinderella, a sign of love twining himself around her heart. At the end the clock strikes midnight and Cinderella and Pedro are exposed. A trumpet is heard announcing the Prince's search. Cinderella appears but is banned by the Chamberlain. The Prince is changed to Harlequin, Cinderella to Columbine, Squaretoso to Pantaloon, the Baron to a clown, and they dance. 11: Booksellers, Clockmakers, Auctioneers, and Perfumers perform with tricks and novelties and a galoppe by Fred Payne and Mademoiselle Esther. 12: Wimbledon Common, with performances by the National Rifle Association, the Zoological Prize Meeting, a pic-nic--"something out of the common"--and DONATO: A New Grand Unusual pas de Trois ___ (guess, lest it be "Payne-ful to enlighten them"). The Harlequinade joins in as the scene transforms into The Christmas Revel of "The Fairies in their Submarine Retreat."]. Promenade Concerts (made up of musical notes and ice cream), along with Music Hall and four little volumes labelled English Songs, Scots Songs, Irish Songs, and Comic Songs. Rogers), Prince Plenteous (Miss Nelly Power), Flunkini, his valet (Miss Maud Brennan), Sambo (Mr. There is to be a ball tomorrow, his coming of age day--an insect ball--his last chance. 2: Giant Cornfield and Grand Ballet, with a Procession of the Insects. She says she was only gleaning, sent out by her mean sisters to do so. Cinderella's carriage crosses the stage followed by a procession of women from all nations. The carriage springs up through a trapdoor and the horses, coachmen, etc., appear from the wings as FG projects her magic by throwing mice, etc. He says he has to look after all the messes men make, and Serena says she must look after the shy maiden Cinderella. Women crowd around to try, including the haughty sisters.